Shakespeare: The Two TraditionsThe two traditions -- Shakespeare on stage and Shakespeare on film -- have experienced a midair collision with postmodernism. The purpose of Shakespeare is to examine recent productions of Shakespeare on stage and film and to lay out some interpretive guidelines for responding to the scripts as re-created in these two very different formats and within the conflicted environment of shifting critical paradigms. Illustrated. |
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Page 30
... audience ? What is common to each manifestation - script , production , and audience — is an arche- type , that is , an energy in the script that can be configured in today's medium to make sense to today's audience . The film does not ...
... audience ? What is common to each manifestation - script , production , and audience — is an arche- type , that is , an energy in the script that can be configured in today's medium to make sense to today's audience . The film does not ...
Page 40
... audience " ( 1977 , 30 ) . Clearly , says Mazer , by 1977 , the RSC had already ac- quired a " neo - Elizabethan ... audience can understand , teach your audience to recognize these patterns ... and you've recreated the play the author ...
... audience " ( 1977 , 30 ) . Clearly , says Mazer , by 1977 , the RSC had already ac- quired a " neo - Elizabethan ... audience can understand , teach your audience to recognize these patterns ... and you've recreated the play the author ...
Page 66
... audience full of lawyers eager to dis- guise the source of their suits . Not so long ago , Washington audiences were inhabited by corn - fed plains - people swept into town by this Republican administration or that . Now , thanks to ...
... audience full of lawyers eager to dis- guise the source of their suits . Not so long ago , Washington audiences were inhabited by corn - fed plains - people swept into town by this Republican administration or that . Now , thanks to ...
Contents
Shakespeare on Stage | 45 |
The Shakespeare Theatres Henry V and Henry VI and the Public Theaters Henry VI | 47 |
Three Tempests and One Macbeth | 77 |
Copyright | |
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action actors approach argues asked audience battle become begins believe body Branagh calls camera character Claudius close comes complete contrast course created critics culture death director dream early effect emerge example experience eyes face father fiction film final force Fortinbras Gertrude Ghost gives Gonzago Guildenstern Hamlet hand Henry images imagination interpretation issues John Juliet King Lady lago language late later light lines live look Macbeth Malvolio meanings merely Michael moment moments moves murder Night occur Olivia once Ophelia Othello particularly performance perhaps person play Player political Polonius present Prince problem production Prospero question reality recent recognize response revenge Richard role Romeo Rosencrantz says scene script seems sense Shakespeare shows soliloquy song space speech stage story suggests takes tell theater things tion turned York young